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Student Tickets

College students may purchase individual season tickets for $16.01 and tickets for The Nutcracker for $21.35 with a valid student ID.* Tickets may be purchased in advance up to the day of the performance by calling the Carolina Ballet box office at 919-719-0900. Tickets may also be purchased on the day of the performance depending on availability at the Theatre Box Office beginning one hour prior to the performance. All seating is based on availability for that performance. Tickets purchased in advance will be held at Will Call, and students must present a valid college student ID to claim the ticket. One student ticket per college ID. Advance ticket purchase guarantees a reserved seat.

Each summer, Carolina Ballet highlights the talent of dancers-in-traing from our Summer Intensive Program. This performance is a showcase of the student dancers combined with several pieces featuring Carolina Ballet principal, soloist and corps company dancers. More information will be available as the performance approaches.

Tickets for the public will go on sale a month before the performance.

Each summer, Carolina Ballet highlights the talent of dancers-in-traing from our Summer Intensive Program. This performance is a showcase of the student dancers combined with several pieces featuring Carolina Ballet principal, soloist and corps company dancers. More information will be available as the performance approaches.

Tickets for the public will go on sale a month before the performance.

Subscriptions are on sale now via the BalletLine: 919-719-0900

Carolina Ballet is excited to open our 17th season with the beloved Russian folktale, Firebird. This mesmerizing ballet is set to the groundbreaking score by Igor Stravinsky and choreographed by our very own Artistic Director, Robert Weiss. This program will also feature new ballets by Zalman Raffael and Robert Weiss.

Dracula, October 9-26, 2014

Back by monstrous public demand, Dracula returns to the stage to entice and hypnotize audiences once again. Lynne Taylor Corbett’s stylish and passionate retelling of Bram Stoker’s classic tale of love and horror is sure to have you on the edge of your seat. Coupled with Edgar Allan Poe’s Masque of the Red Death with choreography by Robert Weiss, this is an evening of the macabre filled with beauty, fear and sensuous artistry.

The Four Temperaments, February 5-22, 2015

Honoring the legacy of America’s greatest choreographer, we are proud once again to present a program of George Balanchine’s choreographic mastery. Balanchine is a legend who crafted not only a vision for the stage, but charted a new course for the entire art form. Over the years we have introduced Triangle audiences to 22 Balanchine ballets, and this year the lineup is highlighted by The Four Temperaments.

Master Composers: Music for Dance, March 5-22, 2015

During the past fifteen plus seasons, Robert Weiss has been inspired to create new work to several of the most famous scores in the musical canon – Handel’s Messiah, Beethoven’s Ninth Symphony, Grieg’s Piano Concerto and just recently, Vivaldi’s The Four Seasons, among others. Next spring, Weiss and Raffael will create an evening inspired by the dance music of the great composers including Mozart, Bach and Beethoven.

Swan Lake, April 16-19, 2015

Throughout the centuries of classical ballet, no work more completely defines the art form than Swan Lake. This epic story of love, longing, magic and mystery has become synonymous with ballet itself as it soars to the ethereal heights of Tchaikovsky’s immortal score.

Cinderella, May 14-17, 2015

No fairy tale touches us like this classic journey of a girl whose toil and grace are rewarded one night with magic, love, and an enchanted pair of shoes. Zalman Raffael’s ballet, Mendelssohn’s Violin Concerto, funded by a grant from the New York Choreographic Institute, will also have its stage premiere.

Raleigh Memorial Auditorium: April 16–19, 2015

Featuring live music played by The Chamber Orchestra of the Triangle

Throughout the centuries of classical ballet, no work more completely defines the art form than Swan Lake. It tells the story of a princess who is turned into a swan by an evil sorcerer’s curse, the prince who falls in love with her, and the evil sorcerer’s daughter who lures the prince into being unfaithful.

This epic story of love and longing soars to ethereal heights with Tchaikovsky’s immortal score. Artistic Director Robert Weiss uses the beautifully illustrated version of this story by Austrian artist and writer Lisbeth Zwerger as the template for his ballet.

Weiss “stripped down the ballet and delicately built it up again to a scale appropriate for his company. The result: an emotionally rich production performed with joy by skillful dancers.”
– Dance Magazine

Raleigh Memorial Auditorium: April 16–19, 2015

Featuring live music played by The Chamber Orchestra of the Triangle

Throughout the centuries of classical ballet, no work more completely defines the art form than Swan Lake. It tells the story of a princess who is turned into a swan by an evil sorcerer’s curse, the prince who falls in love with her, and the evil sorcerer’s daughter who lures the prince into being unfaithful.

This epic story of love and longing soars to ethereal heights with Tchaikovsky’s immortal score. Artistic Director Robert Weiss uses the beautifully illustrated version of this story by Austrian artist and writer Lisbeth Zwerger as the template for his ballet.

Weiss “stripped down the ballet and delicately built it up again to a scale appropriate for his company. The result: an emotionally rich production performed with joy by skillful dancers.”
– Dance Magazine

Raleigh Memorial Auditorium: April 16–19, 2015

Featuring live music played by The Chamber Orchestra of the Triangle

Throughout the centuries of classical ballet, no work more completely defines the art form than Swan Lake. It tells the story of a princess who is turned into a swan by an evil sorcerer’s curse, the prince who falls in love with her, and the evil sorcerer’s daughter who lures the prince into being unfaithful.

This epic story of love and longing soars to ethereal heights with Tchaikovsky’s immortal score. Artistic Director Robert Weiss uses the beautifully illustrated version of this story by Austrian artist and writer Lisbeth Zwerger as the template for his ballet.

Weiss “stripped down the ballet and delicately built it up again to a scale appropriate for his company. The result: an emotionally rich production performed with joy by skillful dancers.”
– Dance Magazine

Raleigh Memorial Auditorium: April 16–19, 2015

Featuring live music played by The Chamber Orchestra of the Triangle

Throughout the centuries of classical ballet, no work more completely defines the art form than Swan Lake. It tells the story of a princess who is turned into a swan by an evil sorcerer’s curse, the prince who falls in love with her, and the evil sorcerer’s daughter who lures the prince into being unfaithful.

This epic story of love and longing soars to ethereal heights with Tchaikovsky’s immortal score. Artistic Director Robert Weiss uses the beautifully illustrated version of this story by Austrian artist and writer Lisbeth Zwerger as the template for his ballet.

Weiss “stripped down the ballet and delicately built it up again to a scale appropriate for his company. The result: an emotionally rich production performed with joy by skillful dancers.”
– Dance Magazine

Raleigh Memorial Auditorium: April 16–19, 2015

Featuring live music played by The Chamber Orchestra of the Triangle

Throughout the centuries of classical ballet, no work more completely defines the art form than Swan Lake. It tells the story of a princess who is turned into a swan by an evil sorcerer’s curse, the prince who falls in love with her, and the evil sorcerer’s daughter who lures the prince into being unfaithful.

This epic story of love and longing soars to ethereal heights with Tchaikovsky’s immortal score. Artistic Director Robert Weiss uses the beautifully illustrated version of this story by Austrian artist and writer Lisbeth Zwerger as the template for his ballet.

Weiss “stripped down the ballet and delicately built it up again to a scale appropriate for his company. The result: an emotionally rich production performed with joy by skillful dancers.”
– Dance Magazine

Raleigh Memorial Auditorium: May 14–17, 2015

A beautiful orphan. A fairy godmother. A charming prince. No fairy tale touches us like this classic journey of long suffering and grace which are rewarded one night with magic, love, and a fabulous pair of shoes. This performance features an original score by Cary resident Karl Moraski, who accompanies the ballet on the piano.

It has all the elements “for popular success – classic story, colorful scenery, dazzling costumes, attractive music, humor and romance. But its artistic achievement sets it apart: choreography fitted perfectly to each moment and each dancer.”
– The News & Observer

Paired with this final program of the season is the stage premiere of Zalman Raffael’s Mendelssohn’s Violin Concerto, which he created on Carolina Ballet dancers in a studio setting, through a Fellowship from the New York Choreographic Institute.

Raleigh Memorial Auditorium: May 14–17, 2015

A beautiful orphan. A fairy godmother. A charming prince. No fairy tale touches us like this classic journey of long suffering and grace which are rewarded one night with magic, love, and a fabulous pair of shoes. This performance features an original score by Cary resident Karl Moraski, who accompanies the ballet on the piano.

It has all the elements “for popular success – classic story, colorful scenery, dazzling costumes, attractive music, humor and romance. But its artistic achievement sets it apart: choreography fitted perfectly to each moment and each dancer.”
– The News & Observer

Paired with this final program of the season is the stage premiere of Zalman Raffael’s Mendelssohn’s Violin Concerto, which he created on Carolina Ballet dancers in a studio setting, through a Fellowship from the New York Choreographic Institute.

Raleigh Memorial Auditorium: May 14–17, 2015

A beautiful orphan. A fairy godmother. A charming prince. No fairy tale touches us like this classic journey of long suffering and grace which are rewarded one night with magic, love, and a fabulous pair of shoes. This performance features an original score by Cary resident Karl Moraski, who accompanies the ballet on the piano.

It has all the elements “for popular success – classic story, colorful scenery, dazzling costumes, attractive music, humor and romance. But its artistic achievement sets it apart: choreography fitted perfectly to each moment and each dancer.”
– The News & Observer

Paired with this final program of the season is the stage premiere of Zalman Raffael’s Mendelssohn’s Violin Concerto, which he created on Carolina Ballet dancers in a studio setting, through a Fellowship from the New York Choreographic Institute.

Raleigh Memorial Auditorium: May 14–17, 2015

A beautiful orphan. A fairy godmother. A charming prince. No fairy tale touches us like this classic journey of long suffering and grace which are rewarded one night with magic, love, and a fabulous pair of shoes. This performance features an original score by Cary resident Karl Moraski, who accompanies the ballet on the piano.

It has all the elements “for popular success – classic story, colorful scenery, dazzling costumes, attractive music, humor and romance. But its artistic achievement sets it apart: choreography fitted perfectly to each moment and each dancer.”
– The News & Observer

Paired with this final program of the season is the stage premiere of Zalman Raffael’s Mendelssohn’s Violin Concerto, which he created on Carolina Ballet dancers in a studio setting, through a Fellowship from the New York Choreographic Institute.

Raleigh Memorial Auditorium: May 14–17, 2015

A beautiful orphan. A fairy godmother. A charming prince. No fairy tale touches us like this classic journey of long suffering and grace which are rewarded one night with magic, love, and a fabulous pair of shoes. This performance features an original score by Cary resident Karl Moraski, who accompanies the ballet on the piano.

It has all the elements “for popular success – classic story, colorful scenery, dazzling costumes, attractive music, humor and romance. But its artistic achievement sets it apart: choreography fitted perfectly to each moment and each dancer.”
– The News & Observer

Paired with this final program of the season is the stage premiere of Zalman Raffael’s Mendelssohn’s Violin Concerto, which he created on Carolina Ballet dancers in a studio setting, through a Fellowship from the New York Choreographic Institute.

DPAC: May 2–3, 2015, For tickets, 919-680-2787 or www.dpacnc.com

Featuring live music played by The Chamber Orchestra of the Triangle

Throughout the centuries of classical ballet, no work more completely defines the art form than Swan Lake. It tells the story of a princess who is turned into a swan by an evil sorcerer’s curse, the prince who falls in love with her, and the evil sorcerer’s daughter who lures the prince into being unfaithful.

This epic story of love and longing soars to ethereal heights with Tchaikovsky’s immortal score. Artistic Director Robert Weiss uses the beautifully illustrated version of this story by Austrian artist and writer Lisbeth Zwerger as the template for his ballet.

Weiss “stripped down the ballet and delicately built it up again to a scale appropriate for his company. The result: an emotionally rich production performed with joy by skillful dancers.”– Dance Magazine

DPAC: May 2–3, 2015, For tickets, 919-680-2787 or www.dpacnc.com

Featuring live music played by The Chamber Orchestra of the Triangle

Throughout the centuries of classical ballet, no work more completely defines the art form than Swan Lake. It tells the story of a princess who is turned into a swan by an evil sorcerer’s curse, the prince who falls in love with her, and the evil sorcerer’s daughter who lures the prince into being unfaithful.

This epic story of love and longing soars to ethereal heights with Tchaikovsky’s immortal score. Artistic Director Robert Weiss uses the beautifully illustrated version of this story by Austrian artist and writer Lisbeth Zwerger as the template for his ballet.

Weiss “stripped down the ballet and delicately built it up again to a scale appropriate for his company. The result: an emotionally rich production performed with joy by skillful dancers.”– Dance Magazine